Catherine des Roches Epistle To Her Mother :: Catherine Roches Epistle Letter Essays

Catherine des Roches' "Epistle To Her Mother" The "Epistle To Her Mother" by Catherine des Roches of Poitiers discusses the very close and dear relationship that exists between mother and daughter. In this letter, the daughter gives a very detailed and vibrant description of the closeness and respect that she shares with her mother. She also reveals her thankfulness to her mother for all that her mother has bestowed upon her. She does this by taking a vow of silence at the end of the letter, which will allow her mother to live a longer and fuller life. In the letter, she wrote, "Since he [the Samian] wishes to speak, I will be silent, Mother, after humbly beseeching Divine Mercy that it please Him lengthen and prosper your days so that you may live a long life as example of the graces of Heaven" (Roches 254). In this letter, Catherine des Roches states facts and details by addressing many parallel points in an easy to read manner. Catherine des Roches does a very good job of consistently using parallel points that contribute to her effectiveness in getting her point across. This means of description allows the reader to grasp the depth of her gratitude and love that she holds for her mother. In the "Epistle To Her Mother," Catherine des Roches uses a very definite pattern of imagery, which includes her use of many mythological figures and activities as references to describe her mother and the relationship that they share. Catherine des Roches also refers to things such as the earth and nature. An example of this is when she says, "You quickened me as Prometheus, the earth which he himself formed" (Roches 253). In this letter, there is also a strong appeal to the senses with the use of words such as luminosity and illumines. Catherine des Roches wrote, "And just as the body in all its proportions, and the shadow in its width cannot be seen without light, so the brilliant luminosity of your mind illumines for us the narrow path where I pray" (Roches 253). According to The Oxford English Dictionary, luminosity means shedding light and illumines means to light up or to enlighten spiritually. These two words are very strong and appeal to the senses to a great degree.

Rhetorical Analysis on Thoreau’s Walden-Chapter33

Rhetorical Analysis-â€Å"Reading† in Walden Walden is a personal essay of Henry David Thoreau, as he goes into wood and writes his personal experiences by immersing himself in nature. By detaching himself from the society, Thoreau tried to gain a more objective understanding of society through personal introspection. His thoughts of understanding society or finding the â€Å"truth† are discussed on the third chapter â€Å"Reading. † This chapter constitutes a description of what Thoreau has gained from reading and an exhortation that the reader should seek for the vein of spiritual truth.Thoreau discusses the benefits of classical literature then argues that people of Concord should focus on adult’s education. He moans that most of the educated men in Concord disregard the classics of English literature and argues that townspeople should have spent money on building Lyceum instead of a townhouse. By using dichotomies, Thoreau differentiates himself from t he townspeople, and then he strengthens his argument by deifying the work of great poets.Thoreau’s studying of classical literature or his attempt to find the truths is prevalent in chapter â€Å"Reading†, but his thoughts are especially well-presented in the first paragraph of the chapter. Thoreau begins his paragraph with personal thoughts saying if men were more deliberate in choosing their pursuits, they would all become â€Å"students† and observers,† because that it is in their â€Å"nature† and â€Å"destiny. † By choosing scientific words, such as â€Å"observers†, â€Å"students†, and â€Å"nature† to describe his personal thoughts, Thoreau risks charges of elitism.Science is a study of nature and it is based on observation and experiment, whereas philosophy and literature is a study based on personal thoughts and insights. This is contrast to what other most writers argue. Most other writers and philosophers arg ue that while it is possible to think we know the truth in a situation, it is impossible to be certain. Since we cannot be certain of the truth, it is very difficult or even impossible to define what the â€Å"truth† is.However by stating that literature and philosophy can be answered in a definite way like science, Thoreau implicitly tells the readers that he is following the â€Å"right† track as other great poets have followed. This elitism is recurrent throughout in Walden, as he states the difference between great literature and the common reader later in this chapter. Thoreau contemplates that most people learn to read only for convenience and they are only satisfied with one great book, the Bible. He even ridicules the townspeople by comparing them to four years old children with a copy of Cinderella.It is possible that Thoreau purposely used the techniques in a planned way. If Thoreau had bluntly blamed the educated man in Concord from the beginning, his reader s, whom are mostly likely educated men from Concord or elsewhere, would have undoubtedly been offended. On the next sentence, Thoreau continues his assertion by introducing the theme of immortality through literature. Once again, he defies the work of great poets by stating that â€Å"we are mortal, †¦ but in dealing with truth, we are immortal. †(94, Thoreau) Thoreau implies that by writing or publishing great works, one can achieve immortality with his work.To further understand Thoreau’s concept on mortality, one must understand his background first. Walden was written in1845, three years after his beloved brother John, an amateur ornithologist. Suffering from his brother’s loss, Thoreau went to woods and started his career as a writer by writing Walden. Faced with the death of his brother, Thoreau probably needed to find an answer for mortality and Walden is his attempt to immortalize himself through writing. Continuing from mortality, Thoreau uses anot her metaphor, divinity. Thoreau mentions about Egyptian and Hindu philosophers and their divinity.It is interesting to see that Thoreau uses other religions, instead of using Christianity. It was written in mid-nineteenth century, and the traditional Christian beliefs were starting to crumble. Thoreau, coming from New England where Puritan religion is prevalent, would of course be familiar with Christianity and Bible. Other evidences in this paragraph also suggest that Thoreau was affected by this. As I mentioned on the last paragraph, Thoreau mentions about immortality and afterlife, which cannot be achieved in Christianity.Another example is the use of word â€Å"veil† in this paragraph. Throeau states â€Å"still the trembling robe remains raised, and I gaze upon as fresh a glory as he did. †(94, Thoreau) When people first think of Veil in religion, most people would think of Muslim women wearing hijabs, but considering that this was written in mid-nineteenth centur y, Thoreau probably was not considering Muslim. In fact, covering the hair is also religious commandment for Christian Women and it was meant to shield women’s hair from eyes of sinful men.Human beings can only perceive the divine through their senses in Christianity belief, while Thoreau, as a transcendentalist, suggests a more spiritual way to connect with divine by reading great literature. Thoreau then concludes this paragraph with a resemblance statement of great literature’s immortality. He says â€Å"That time which we really improve, or which is improvable, is neither past, present, nor future. †(94,Thoreau) Again he mentions immortality of the great literature and he is stating that these works are the â€Å"truth. Thoreau does not contemplate townspeople in this paragraph as much as the rest of chapter. Instead he focuses praising the great poets and even defies their work. This is part of his effort to convince readers his argument before he can crit icize other townspeople. By doing this, he wishes for townspeople to become more educated. He wishes that Concord spend money on arts and education as patrons in European nobles, but only finds that townspeople are spending money on farming and trade. By using dichotomy between townspeople and the great poets, he successfully distinguishes himself from townspeople.Then by using metaphors and comparison with Christianity, Thoreau asserts his opinion on education and tells his thoughts on finding the â€Å"truth. † By boldly putting himself to the same position as the other great poets, Thoreau successfully shows his strong will on reforming education. Yet, he risks his essay for elitism by simply stating that townspeople don’t care much about the literature and thus must be not interested in finding the truth. ? Work cited. 1. Henry David Thoreau, Walden. New York: The Modern Library, 1992. Print. 2. Walden Pond state Reservation

Nushu, a Woman-Only Language of China

Nushu or Nu Shu means, literally, â€Å"woman’s writing† in Chinese.   The script was developed by peasant women in Hunan Province, China, and used in Jiangyong county, but probably also in nearby Daoxian and Jianghua counties.   It nearly became extinct before its very recent discovery.   The oldest items are from the very early 20th century, though the language is assumed to have much older roots. The script was often used in embroidery, calligraphy and handicrafts created by women.   It is found written on paper (including letters, written poetry and on objects such as fans) and embroidered on fabric (including on quilts, aprons, scarves, handkerchiefs).   Objects were often buried with women or were burned. While sometimes characterized as a language, it might better be considered a script, as the underlying language was the same local dialect used also by the men in the area, and usually by the men written in Hanzi characters. Nushu, like other Chinese characters, is written in columns, with characters running from top to bottom in each column and columns written from the right to the left.   Chinese researchers count between 1000 and 1500 characters in the script, including variants for the same pronunciation and function; Orie Endo (below) has concluded that there are about 550 distinct characters in the script.   Chinese characters are usually ideograms (representing ideas or words); Nushu characters are mostly phonograms (representing sounds) with some ideograms.   Four types of strokes make u the characters: dots, horizontals, verticals and arcs. According to Chinese sources, Gog Zhebing, a teacher in South Central China, and linguistics professor Yan Xuejiong, discovered calligraphy used in the Jiangyong prefecture.   In another version of the discovery, an old man, Zhou Shuoyi, brought it to attention, preserving a poem from ten generations back in his family and beginning to study the writing in the 1950s.   The Cultural Revolution, he said, interrupted his studies, and his 1982 book brought it to the attention of others. The script was well known locally as â€Å"woman’s writing† or nà ¼shu  but it had not before come to the attention of linguists, or at least of academia. At that time, about a dozen women survived who understood and could write Nushu. Japanese professor Orie Endo of Bunkyo University in Japan has been studying Nushu since the 1990s. She was first exposed to the existence of the language by a Japanese linguistics researcher, Toshiyuki Obata, and then learned more in China at Beijing University from Professor Prof. Zhao Li-ming.   Zhao and Endo traveled to Jiang Yong and interviewed elderly women to find people who could read and write the language. Orie Endo: 1999 research report (English): Endangered System of Women’s Writing from Hunan China (presented at the Association of Asian Studies Conference, March, 1999.Orie Endo: Nushu in 2011, including information on a Japanese-made documentary â€Å"The Chinese Women’s Script for Writing Sorrow.† The area where it has been used is one where the Han people and the Yao people have lived and intermixed, including intermarriage and mixing of cultures.   It was also an area, historically, of good climate and successful agriculture. The culture in the area was, like most of China, male-dominated for centuries, and women were not permitted an education.   There was a tradition of â€Å"sworn sisters,† women who were not biologically related but who committed to friendship.   In traditional Chinese marriage, exogamy was practiced: a bride joined her husband’s family, and would have to move, sometimes far away, not seeing her birth family again or only rarely. The new brides were thus under the control of their husbands and mothers-in-law after they married.   Their names did not become part of genealogies. Many of the Nushu writings are poetic, written in a structured style, and were written about marriage, including about the sorrow of separation. Other writings are letters from women to women, as they found, through this female-only script, a way to keep in communication with their female friends.   Most express feelings and many are about sorrow and misfortune. Because it was secret, with no references to it found in documents or genealogies, and many of the writings buried with the women who possessed the writings, it’s not authoritatively known when the script began.   Some scholars in China accept the script not as a separate language but as a variant on Hanzi characters. Others believe it may have been a remnant of a now-lost script of eastern China. Nushu declined in the 1920s when reformers and revolutionaries began to expand education to include women and to raise women’s status. While some of the older women attempted to teach the script to their daughters and granddaughters, most did not consider it valuable and did not learn.   Thus, fewer and fewer women could preserve the custom. The Nà ¼shu Culture Research Center in China was created to document and study Nushu and the culture around it, and to publicize its existence.   A dictionary of 1,800 characters including variants was created by Zhuo Shuoyi in 2003; it also includes notes on grammar.   At least 100 manuscripts are known outside of China. An exhibition in China that opened in April, 2004, focused on Nushu. †¢Ã‚  China to reveal female-specific language to public - Peoples Daily, English Edition

Effects Of Modernism - 857 Words

The Modernist era was a social and cultural movement characterised by rapid social and technological change in the 19th and 20th century. The art movement revolved around a group of innovative artists and art critics who challenged preconceived ideas about what â€Å"good† art was, and redefined expectations. Modernism affected the ideas and practices of artists, increasing the attitude of the Avant-Garde – to be original. Abstraction was explored visually and artists moved away from pictorial realism, bringing into focus new techniques and acceptances. Abstract Expressionist was the final sub-era of Modernism. Artists started to view painting as a performance or experience, rather than a reproduction of an object – real or imagined. It was†¦show more content†¦He aimed to distil the core essence of each artwork through visual vocabulary; using non-genre based subject matter such as distorted shapes, squiggles and motifs. For example, in his painting â⠂¬ËœComposition IV, 1911, Kandinsky has partially disguised symbols of subject matter from the outside world, such as boats, reclining figures, and a castle on a hilltop, beneath vibrant blocks of colour and harsh black lines. The notion of battle is conveyed in the chaos of the composition particularly in the way Kandinsky has juxtaposed the clashing vibrant high key colours, with the calm of the flowing forms. This alludes to the peace and redemption to follow. Kandinsky’s formalistic approach to the biomorphic painting – with a specific focus on colour, shape and arrangement – was challenging to the deeply ingrained notion that subject matter was required to tell a narrative and realistically represent society. Kandinsky was criticised for devaluing art in the Modernist era and promoting the notion of â€Å"art for art’s sake† due to the abstract nature of his work. However he argued that such artwork could create a corresponding thrill or contrast of emotion in the audience. He said â€Å"Such works of art at least preserve the soul from coarseness; they â€Å"key it up†¦as tuning-key the strings of a musical instrument.† He aimed to reveal the inner lifeShow MoreRelatedNegative Effects Of Modernism742 Words   |  3 PagesINTRODUCTION Postmodernism is an era of intellectual growth that is characterized by the move away from modernism. Postmodernism believes that truth is subject and not absolute. Thomas Oden declares modernism to be the period between the French revolution as marked by the storming of the Bastille in Paris 1789 and the collapse of the Berlin wall 1989. page 696. 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One of such attraction has not spared the contribution by Eliot. The poem by Eliot is characterized by a lot of themes that define and demonstrate elements of modernism. The nature of the art that was producedRead MoreA Business Journal On Ethics1140 Words   |  5 Pagesof reason, truth, and morality, but rather looks to him/herself, basing their decisions on fallible human reasoning. Modernism, as the dominant worldview, is now the source of explanation, relying on human reasoning as the reference point in all areas of life, including vocation and business practices. Modernism is a reflection of man’s search of meaning and purpose. The modernism worldview carries over into various areas of disciplines. Today, a business manager, with a modernist worldview, may

Edgar Allan Poe s The Raven And The Black Cat - 1225 Words

Although now seen as the father of the modern horror story, Edgar Allan Poe was previously viewed as a drunken failure. Within Poe’s writings much of his own life riddled with guilt, anxiety, alcohol, depression and death shines through resulting in works that appear unrelated yet once dissected prove similar. This is true for Poe’s works â€Å"The Raven† and â€Å"The Black Cat†. Poe’s examples of gothic fiction share the use of the color black and a rapid digression of the narrator s sanity while seemingly unveiling Poe’s internal pain. Despite these similarities, Poe’s works also differ immensely. â€Å"The Black Cat† focuses around death while â€Å"The Raven† is fixed around discovering the reasoning for a bird s arrival. Moreover, gothic themes seen within â€Å"The Raven† do not necessarily remain constant when compared to â€Å"The Black Cat†. At the beginning of Edgar Allen Poe’s â€Å"The Raven† and â€Å"The Black Cat† the narrators begin to explain their side of the story calmly, maintaining their composure and sanity. Yet, as both stories progress Poe’s main characters quickly unravel and spiral into frantic, unstable beings. Initially, the man depicted within â€Å"The Raven† believes a visitor is knocking on his door, a rational and typical thought upon hearing a knock. The main character’s mental health begins to slip when he yells and believes to hear in the empty doorway, his dead wife, â€Å"I whispered, and an echo murmured back the word, ‘Lenore!’ †, (Poe 1). All remnants of the narrator s sanityShow MoreRelatedEdgar Allan Poe s The Raven, The Black Cat And The Tell Tale Heart ``1158 Words   |  5 PagesExtension English Edgar Allan Poe Writing Task Weland La Edgar Allan Poe is a writer renowned for his incorporation of macabre themes into his variety of texts. 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Terms Used In Poetry Essay Example For Students

Terms Used In Poetry Essay A slow popular song typically about love, narrated, any light, simple song especially about romantic events. 2. Elegy: a sad poem or song: a poem or song that expresses sorrow for someone/Something who is dead 3. Epic: telling a story about a hero or about exciting events or adventures 4. Epitaph: something written or said in memory of a dead person; especially: words written on a gravestone 5. Idly: a simple poem or other piece of writing that describes peaceful country life 6. Imaging Poem: a 20th century movement in poetry advocating free verse and the expression of ideas and emotions through clear precise images 7. Limerick: a humorous rhyming poem of five lines baby 8. Lyric: Poem: a poem that expresses deep personal feelings In a way that Is Like a song 9. Narrative Poem: Tells a story, often making use of the voices of a narrator and characters as well; the entire story is usually written in metered verse. The poems that make up this genre may be short or long, and the story it relates to may be complex. . Ode: a poem In which a person expresses a strong feeling of love or respect for someone or something 11 . Sonnet: a poem made up of 14 lines that rhyme in a fixed pattern 12. Concrete Poetry: poetry In which the poets Intent is conveyed by the graphic patterns of letters, words, or symbols rather than by the conventional arrangement of words 13. Dramatic Poem: any drama that is written in verse that is meant to be recited. It usually tells a story o r refers to a situation. This would include closet drama, dramatic monologues, and rhyme verse. Narrated by the characters them selves. 14. Haiku: an unrushed verse form of Japanese origin having three lines containing usually five, seven, and five syllables 15. Epigram: a short and clever poem or saying 1 . Blank Verse: poetry that is not rhymed but that has a regular rhythm 2. Free Verse: poetry that does not rhyme and does not have a regular rhythm 3. Meter: the basic pulse and rhythm off piece of music. 4. Foot: The basic unit of verse meter consisting of any of various fixed combinations or groups of stressed and unstressed or long and short syllables 5. Rhythm: The patterned recurrence, within a certain range of regularity, of specific language features, usually features of sound. 6. Parallelism: the use of components in a sentence that are grammatically the same 7. Rhyme Scheme: The ordered pattern of rhymes at the ends of the lines of a poem or verse. 8. Refrain: a repeated line or number of lines in a poem or song, typically at the end f each verse. . Stanza: a group of lines forming the basic recurring metrical unit in a poem; a verse. 10. Couplet: the basic pulse and rhythm off piece of music. 1 1 . Quatrain: a stanza of four lines, esp.. One having alternate rhymes.

Who is more monstrous Frankenstein or his monster Essay Example

Who is more monstrous Frankenstein or his monster? Paper It is a common misconception of many thousands of children that in the story of Frankenstein it is not victor Frankenstein but it his monster who is called Frankenstein. This is ironic because it is my belief that it is not the monster that is monstrous but it is his creator, for the two of them to have a name in common I believe that this also implies that they have some characteristics as well. Take the Ten Commandments the Christians rules that define a sinner in the most definitive way: VICTOR Frankenstein breaks several of these rules, he creates in himself an idol to rival that of god, he in effect kills three if not four people although indirectly and he tries to take out of society his greatest fear, the fear of women. When Frankenstein is undertaking the creation of his monster he seems so perplexed by the work of his hands and the genius of it all that he forgets to look at the bigger picture, that of horror and sheer stupidity, and in doing so creates his monster and gives it life before he has taken into account the result on society that it may have. He believes so blindly that what he is doing will be to the benefit of the human society that when he comes to step back and take a look at what he has done that he is disgusted by himself and the coward that he is he leaves it for dead and runs away in self pity. We will write a custom essay sample on Who is more monstrous Frankenstein or his monster? specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Who is more monstrous Frankenstein or his monster? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Who is more monstrous Frankenstein or his monster? specifically for you FOR ONLY $16.38 $13.9/page Hire Writer In todays modern society a man who has a child born to his wife and then runs away as soon as the consequences hit him is seen as a coward and is forced to become a social outcast in doing so he commits evil and is one step closer to becoming a monster. What is a monster? In my view there are two types of monster the first is the stereotype: a hideous being, being around or close to which is terrifying, this is an outward facing monster who cannot do anything about what it is or looks like but is not necessarily evil or nasty. The second type of monster is totally on the contrary he or whatever it is, is to most people, just another person but it is inside where his monstrosity comes in, this type of monster is someone whos soul has been corrupted by evil and who therefore is ruthless and despicable. And it is both of these two types of monster who can be seen in the novel and I dont think that I need to tell you which one is which. I struggle to find examples other than the obvious sins in the creation of the monster and his self-pity, which can condemn the actions of Frankenstein as a monstrous person but it is impossible not to feel the atmosphere of the whole book and in feeling the atmosphere begin to understand the whole concept of the idea that Mary Shelley is trying to portray and demonstrate. It is mans greatest dream and fantasy and yet ultimate fear to have the power to create life and so it is in my eyes, and I am sure in the eyes of the world, the most sinful of evils. The monster on the other hand is born good and free of evil it is only the desertion of his creator and then of society that turns him to evil ways, we see the first signs of this goodness when he recognises the DE-Lacy family as being one of good and of moral ways. He wishes only then that he could become like them in their goodness. They are in one way like the monster they are good and just people but they have been rejected from society for reasons we believe to be of the French revolution, this leads him to believe that he will be accepted by the De-Lacys as they share a common problem. He uses to his advantage the old mans blindness in that he will not see the monsters horrorful image and only his good and kind soul. It is only once he has been rejected by the De-Lacys that he turns to evil in desperation. His original goodness is hence corrupted and destroyed by the society that created him and from then on starting with the killing of William he turns to evil for comfort comparing himself to the devils in paradise lost. His one last chance to continue to live in sanity is to find the evil who created him and to ask him that he may be allowed to have female in order to keep him company that he need not terrorise society. It is here that Frankenstein shows his fear for the opposite sex and the misconception of the power that a female can hold over a man. And so he refuses to create this being for his monster in effect forcing him to turn on society in blind rage, so selfish is this action that Frankenstein ignores all the impact that this may have on the society and of human sanctity- surely this is evil enough to describe the doer as a monster? 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